Birdman was the toast of the 87th Oscars on Sunday (22Feb15), earning Best Picture as Eddie Redmayne and Julianne Moore also celebrated big wins at Hollywood's big night.
Birdman filmmaker Alejandro Gonzalez Inarritu was named Best Director, while he also claimed Best Original Screenplay and Emmanuel Lubezki received the Best Cinematography award. Redmayne couldn't contain his excitement as he collected the Best Actor prize for his Stephen Hawking biopic The Theory of Everything, and Julianne Moore scored Best Actress for Still Alice, while fellow awards season favourites and first-time nominees J.K. Simmons (Whiplash) and Patricia Arquette (Boyhood) walked away with the best supporting acting prizes.
Wes Anderson also had reason to celebrate as The Grand Budapest Hotel, which tied with Birdman for the most nominations with nine nods apiece, scored four titles, including Best Original Score for Alexandre Desplat. Each of the nominations for Best Original Song were performed, but it was John Legend and Common's powerful rendition of Selma track "Glory" which left actors David Oyelowo and Chris Pine in tears at Los Angeles' Dolby Theatre as the audience gave the musicians a standing ovation. "Glory" went on to win the category. Meanwhile, Jennifer Hudson honoured the stars lost in the past year by singing "I Can't Let Go" as part of the In Memoriam segment, and Lady Gaga helped to celebrate the 50th anniversary of Oscar-winning movie The Sound of Music with an impressive medley of hits from the Dame Julie Andrews musical, including Edelweiss, Climb Ev'ry Mountain and the title song.
Ceremony host Neil Patrick Harris also showed off his vocals by opening the 2015 prizegiving with a comedic song and dance number with Anna Kendrick and actor/rocker Jack Black.
The full list of winners at the 2015 Oscars is:
Best Motion Picture of the Year: Birdman
Best Performance by an Actor in a Leading Role: Eddie Redmayne, The Theory of Everything
Best Performance by an Actress in a Leading Role: Julianne Moore, Still Alice
Best Performance by an Actor in a Supporting Role: J.K. Simmons, Whiplash
Best Performance by an Actress in a Supporting Role: Patricia Arquette, Boyhood
Best Achievement in Directing: Alejandro Gonzalez Inarritu, Birdman
Best Writing, Original Screenplay: Alejandro Gonzalez Inarritu, Nicolas Giacobone, Alexander Dinelaris, Jr. and Armando Bo, Birdman
Best Writing, Adapted Screenplay: Graham Moore, The Imitation Game
Best Foreign Language Film of the Year: Ida (Poland)
Best Animated Feature Film: Big Hero 6 Best Documentary, Feature: Citizenfour
Best Documentary, Short Subject: Crisis Hotline: Veterans Press 1
Best Short Film, Animated: Feast Best Short Film, Live Action: The Phone Call
Best Achievement in Music Written for Motion Pictures, Original Song: "Glory" from Selma, by John Legend and Common
Best Achievement in Music Written for Motion Pictures, Original Score: Alexandre Desplat, The Grand Budapest Hotel
Best Achievement in Cinematography: Emmanuel Lubezki, Birdman
Best Achievement in Film Editing: Tom Cross, Whiplash
Best Achievement in Costume Design: Milena Canonero, The Grand Budapest Hotel
Best Achievement in Production Design: Adam Stockhausen and Anna Pinnock, The Grand Budapest Hotel
Best Achievement in Makeup and Hairstyling: Frances Hannon and Mark Coulier, The Grand Budapest Hotel
Best Achievement in Visual Effects: Interstellar Best Achievement in Sound Editing: American Sniper
Best Achievement in Sound Mixing: Whiplash
Academy Honorary Awards: Jean-Claude Carriere Hayao Miyazaki Maureen O'Hara Jean Hersholt Humanitarian Award: Harry Belafonte.

Singer/actor Harry Belafonte received an honorary Oscar at the Governors Awards in Los Angeles on Saturday (08Nov14). The Carmen Jones star was presented with the Jean Hersholt Humanitarian Award by Susan Sarandon in recognition of his lifelong commitment to campaigning for civil rights.
During his speech, Belafonte implored the Hollywood stars at the ceremony to use their fame to make the world "see a better side of what we are as a species".
He added, "To be rewarded by my peers for my work, human rights, civil rights, peace, let me put it this way: It powerfully mutes the enemy's thunder."
He also brought actor Sidney Poitier on stage to share the moment with him, calling the movie legend "a man who gave so much of his own life to redirect the ship of racial hatred in American culture."
Irish actress Maureen O'Hara received a standing ovation as she headed to the podium in her wheelchair. The 94 year old was handed her honorary Oscar by Clint Eastwood and Liam Neeson, while Nicole Kidman paid tribute via video message.
Honours were also handed out to Japanese animator Hayao Miyazaki and French screenwriter Jean-Claude Carriere.
Other guests at the Grand Ballroom at Hollywood and Highland included Keira Knightley, Benedict Cumberbatch, Eddie Redmayne, Logan Lerman, Emily Blunt and her husband John Krasinski and director Ron Howard.

Studio Ghibli
Dreams are easy things to keep; having the gall to actually reach for them is the hard part. There has never been a film about reaching for dreams quite like Studio Ghibli’s Whisper of the Heart. Written by the legendary Hayao Miyazaki and directed by Yoshifumi Kondō, who was primed to be Miyazaki's virtual heir before his sudden death in 1998, Whisper of the Heart follows junior high student Shizuku, a bookworm with secret ambitions of becoming a writer. When Shizuku meets and falls for Seiji, a boy with the mission of traveling to Italy to becoming a world class violin maker, it sends her into a tailspin of an identity crisis. After all, what use is a directionless girl to a boy who already has a beautiful dream he’s willing to sacrifice for? This sets Shizuku on the path toward her own goals: she throws her entire being into writing a novel based on the Baron, an ornate cat statue with his own tragic past. But will the young girl's story be any good?
Unlike many of Studio Ghibli's efforts, like the fantastical Spirited Away or Princess Mononoke, Whisper of the Heart is a film grounded in the very real, albeit beautifully realized streets suburban Tokyo... but that's not to say that it's lacking in any magic. Whisper of the Heart is a textured and spirited coming-of-age story filled with feelings that should resonate with nearly everyone. Every vibration of Shizuku's story can be felt by any person who sees him or herself as an artist. There are tough lessons rumbling deep under the surface of the film, and the two young dreamers are quick to realize that failure is a real possibility. Sadly, actual success may be a grasp to far, but their dreams are still worth striving for.
Whisper of the Heart is not a film simply about dreams or passions. It’s deeper than that. At its sweet, nurturing soul, it's a film about effort. Not simply giving your aspirations lip service, but working doggedly towards reaching them, and knowing the road paved towards anything worth having is never an easy journey, but one that's sincerely worth taking. It all starts with a single step.
Follow @Hollywood_com
//
Follow @CurrentlyJordan
//

50th Street Films vis Everett Collection
The first time I watched My Neighbor Totoro, it was for a class assignment. I had seen several other Studio Ghibli films over the years, and yet for some reason, I had never gotten around to this one, and had been enduring the incredulous reaction of friends for years. When I put it on, I wasn’t expecting anything remarkable – enough material to write a paper, if I was lucky, and the chance to finally get them to shut up – and then I suddenly got it. I wasn’t even all the way through the film when I understood why everyone was so adamant about me watching this movie, because My Neighbor Totoro is, quite possibly, a masterpiece.
It’s not a sweeping epic; there are no grand chases or dramatic cliff-hanger or life and death stakes. It’s a small movie about the relationship between two sisters, Satsuki and Mei, trying to get through a difficult time, and the idea that there are forces in the world that will care for you, and protect you. In most fairy tales, the mythical creatures are often the threats, forcing kids to grow up and take care of themselves. In My Neighbor Totoro, Satsuki and Mei aren’t the ones being threatened (their mother is) and the “villain” (her disease) is beyond their control. The conflict and the characters are undeniably real, not just to adults, but to the childhood experience of feeling helpless but wanting to do something"?
In the case of My Neighbor Totoro, it’s the spirits that help look after Satsuki and Mei, that keep them feeling safe and loved, that keep them together and allow them to keep their child-like sense of wonder in the face of something so grown-up and scary. Even though life can be difficult and sad, there are still things to wonder at; there are still people who care about each other. The message of My Neighbor Totoro is about finding the magic in everyday life, respecting the world around you and relying on love and friendship to make it through tough situations. And even though all of these messages are directed at kids, they’re just as comforting to adults. I remember sitting in my dorm room, feeling happy and comforted and a little in awe of the potential magic all around me. Every time I re-watch My Neighbor Totoro, I get that exact same feeling. It was clearly a labor of love for Studio Ghibli and Hayao Miyazaki and that love is evident in every frame. That love seeps off the screen.
When I heard that Studio Ghibli might be shutting down, I immediately thought of My Neighbor Totoro, and all of the other wonderful, perfectly-crafted films that they have produced over the years, and the idea of never getting to experience another film like that for the first time is heartbreaking. They’re a studio full of original ideas, painstaking-detail and warm, comforting and exciting stories. But most of all, they’re a studio that produces each film as a labor of love, and nowhere is that love more evident than in the brilliant, heartwarming comfort of My Neighbor Totoro.
Follow @hollywood_com
//
Follow @julesemm
//

Bosses at famed Japanese animation company Studio Ghibli have announced a hiatus in production while they consider the firm's future. The studio, responsible for a host of much-loved anime movies including Oscar winner Spirited Away and Howl's Moving Castle, said farewell to its lead director Hayao Miyazaki in September (13) and Ghibli co-founder Toshio Suzuki now insists the company will temporarily stop production to consider how to move forward.
Speaking with Japanese TV programme TBS, Suzuki says, "It is by no means impossible to keep producing (movies) forever. However, we will take a brief pause to consider where to go from here."
He added that a period of "housecleaning" was required to allow new animators and directors to join the company following the departure of Miyazaki, who was behind many of the company's biggest successes.
It was originally reported that the company would completely abandon film-making and focus on the rights relating to its existing products, but Suzuki's TV comments have since been translated more accurately, revealing the hiatus.

Disney
For whatever reason, I cannot effectively connect to a motorized vehicle as a sentient character. Planes, Cars, Transformers, Herbie, KITT, Jerry Van Dyke's mother. Maybe it's because I never learned to drive. More plausible theory: Every big or small screen attempt to allot sentience to a motorized vehicle has been grievously underwhelming. Okay, I'll give you Knight Rider. But the latest example of the endeavor, Planes: Fire &amp; Rescue, is no Knight Rider. It's barely even a Cars. The feature from DisneyToon Studios is as hollow as you can imagine a 3D animated movie to be. And this degree of vacancy feels like more than just a waste of time for the targeted youth.
Dane Cook's celebrity racing plane Dusty Crophopper, a leading man completely without hue — and don't think children's movie heroes are exempt from the expectation of nuance; Woody, Wall-E, Remy, were all leagues more recognizable than the anonymous Dusty — busts one of his principal cogs and learns that he can't exceed a certain speed or else he'll crash. In other words he'll never race again. So with an existential crisis on the horizon, and a town in jeopardy, Dusty switches gears and decides to learn how to become a firefighter.
In large part, Planes: Fire &amp; Rescue is a love letter to public servants, opening with a title card that dedicates the film to the brave men and women who work to keep our towns and cities safe. In this element alone is the film passable, propagating appreciation for a line of work that bears unquestionable merit. But the story surrounding this message is so tattered and lifeless that it'd be surprising if any of Planes' target youths access the throughline moral.
Disney
Dusty's personal journey jumps from one quasi-conflict to the next, each piece representing a fraction of a story that we've seen in other animated films, so that you're never given the opportunity to connect with him over any of his qualms. His shattered dreams of racing, his newly evident mortality, his struggle to find new purpose, his quest for self-betterment, his drive to help others. All are teased, none are explored.
And the characters surrounding Dusty are even worse, the lot composed of sexist and racial stereotypes that are far more uninteresting than they are genuinely offensive. Every secondary player is a one-off joke, and not a good one; the only laughs in the flick come from the occasional play on words, but even for a pun-junkie will that tread wear thin.
With characters this shallow and plotlines this scattered, your kids cannot possibly engage with a movie like Planes: Fire &amp; Rescue. They'll relegated to staring at it, retrieving little more than bright colors, speedy scenes, goofy voices, and the obscenely frequent flatulence joke. This is clearly all Planes thinks that kids can handle, but that's an egregious affront to a demographic that fueled the works of classic Disney, golden age Pixar, and Hayao Miyazaki. I think they can manage a few well-crafted airplanes.
1.5/5
Follow @Michael Arbeiter | Follow @Hollywood_com

WENN/Joseph Marzullo
Chloë Grace Moretz has been staying incredibly busy, with new projects being announced and promoted all over the place. Next up for the talented young star is the Japanese animated film The Tale of Princess Kaguya. Studio Ghibli (co-founded by Hayao Miyazaki) is behind this one, and people are expecting great things. Here's a look at the 2013 production:
The movie is based on the oldest recorded Japanese story The Tale of the Bamboo Cutter, and tellsof a tiny girl found inside a stalk of bamboo. According to Entertainment Weekly "she grows into a beautiful woman who attracts many suitors, though she hides a secret."
Moretz will voice the lead role of Kaguya, and she stars alongside James Caan, Mary Steenburgen, Darren Criss, Lucy Liu, James Marsden, and John Cho.
Follow @Hollywood_com Follow @shannonmhouston
//

Touchstone Pictures via Everett Collection
For a career that was spent constructing mystical worlds like the ones seen Princess Mononoke, Kiki's Delivery Service, and Spirited Away, it might seem a little odd that Hayao Miyazaki's swan song is centered on the real-life story of about the famed aeronautical engineer Jiro Hirokishi. But even though there aren't any magical creatures flying around the skies of a very true-to-life 20th century Tokyo, that doesn't mean that The Wind Rises is lacking in wonder. In fact, Miyazaki's last film may be his most inspiring yet, and is doubtlessly his most personal. After all, it's hard not to see the parallels between the subject of The Wind Rises and its creator himself.
The film follows the famed aeronautical engineer who dreamed of flight, but is kept out of the cockpit thanks to his nearsightedness. Instead, Jiro decides to focus his attention on designing and creating planes. He’s the kind of person that can see inspiration in the slope of a fish bone; every little slice of life can serve as source of inspiration.
Eventually, Jiro becomes Japan's premiere aeronautical engineer — and how could he not when he has the voice of Stanley Tucci in his ear, spurring him on? Tucci plays a dreamed-up version of Giovanni Caproni, a real life Italian aircraft engineer who inspires Jiro to keep working towards his goals. The dream sequences where Caproni visits Jiro are some of the film's finest moments, and Tucci puts as much Italian-accented verve and hope into his performance that almost inspires you to get out of your theater chair and start tinkering with whatever pursuit lifts your own wings. It is in these dream sequences where The Wind Rises really soars, as we watch the two inventors construct odd, curious, and wondrous flying contraptions that can take to the skies, even when the real world physics won't allow them to. Rises might lacks the fantastical worlds and creatures that populate Miyazaki's other works, but it's no less magical. But beyond the wonder of building airplanes, there are hard truths to be learned, and as Jiro realized soon enough, his creations will be dropping the bombs that will serve as Japan's introduction to much of the western world.
Touchstone Pictures via Everett Collection
But for all the fantastic dreamscapes and characters that populate Jiro's world, from Tucci's lively Caproni, to Jiro's excitable sister who has dreams of her own, to even his love interest Naoko, the one flaw in the film seems to be Jiro himself. Joseph Gordon-Levitt, who voices Jiro in the English translation of the film, sounds utterly lifeless, and even in the film's emotional peaks and valleys, it sounds like he's reading a telephone book. And while the rest of the English voice cast mostly soars to the occasion, including Martin Short who voices Jiro's hot-tempered boss, and Werner Herzog who helps give the enigmatic Castorp an air of mystery, Jiro is a black hole of personality, and Levitt doesn't manage to give much of anything to Jiro.
The Wind Rises is also a crash course in early 20th century Japan, as we see a country yearning to show the world it's mettle, and we get a peak at the countries' growing pains. We see various events play out on screen including a beautifully animated depiction of the 1923 earthquake that levels Tokyo, and rips through japan like a cresting tidal wave (Studio Ghibli is in top form in the animation department as usual). We also see glimpses of the tuberculosis crisis, the depression, and the early foundations of Japan's relationship with Nazi Germany. These events don't take away from what is firmly Jiro's story, but serve as context to his journey
The Wind Rises is an ode to the dreamers. It's for the creatives who craft their goals in their heads, and unleash their creations for the world to see. It's a uniquely inspiring film that stands with the best of Miyazaki's filmography, and provides a graceful end note to a marvelous career.
4/5
Follow @Hollywood_com
//
Follow @CurrentlyJordan
//

Hollywood couple Emily Blunt and John Krasinski are set to work together for the first time in Japanese filmmaker Hayao Miyazaki's final movie. The married stars, who are expecting their first child together next year (14), will team up for animated movie The Wind Rises.
The historical fantasy film was a hit when it was released in Japan earlier this year (13), and now director/writer Miyazaki is bringing the movie to English-speaking audiences.
Krasinski will voice lead character Jiro Horikoshi, who designed Japan's World War II fighter planes, with Blunt as his love interest.
Other celebrities adding their voices to the film are Elijah Wood and Stanley Tucci, who is married to Blunt's sister, Felicity.
Miyazaki announced The Wind Rises would be his last movie shortly after its original release over the summer (13).

Touchstone Pictures/Getty
The English dub of Hayao Miyazaki's The Wind Rises is finally taking flight, and there's a load of A-list talent on board for the ride, including the likes of Joseph Gordon-Levitt, Emily Blunt, and John Krasinski.
Said to be his final film, Miyazaki ended his decades long career with a graceful swan song that tells the true story of Jiro Horikoshi, a young man with dreams of flight. Jiro would eventually becomes the aeronautical engineer that designs the fighter planes that Japan would go on to use during the second World War. The cast features a wide range of talented performers, and it seems like many of the actors simply couldn't pass up the chance to be a part of Miyazaki's last directoral project. While speaking about the film, Gordon-Levitt said that The Wind Rises was "clearly the work of someone who's a master at their craft." Hopefully, Gordon-Levitt and the rest of the English-speaking cast can do justice to Miyazaki's final project. The full cast list is below:
Joseph Gordon-Levitt — main character Jiro Horikoshi
Emily Blunt — love interest Nahoko Satomi
John Krasinski — Honjo, Jiro's college pal and fellow aviation engineer
Martin Short — Kurokawa, Jiro's grumpy boss
Stanley Tucci — Caproni, Italian airplane creator
Mandy Patinkin — Hattori, senior designer at Mitsubishi
William H. Macy — Satomi, Nahoko's father
Werner Herzog — the mysterious Castorp
Mae Whitman — Kayo, Jiro's younger sister, as well as Kinu, Nahoko's caretaker
Jennifer Grey — Mrs. Kurokawa
Darren Criss — Katayama, one of Jiro's engineering colleagues
Elijah Wood — Sone, another of Jiro's colleagues
Ronan Farrow — Mitsubishi employee
Elijah Wood — Sone, another of Jiro's colleagues
Ronan Farrow — Mitsubishi employee
(Via USA Today)
Follow @Hollywood_com
//
Follow @CurrentlyJordan
//

Designed, wrote and directed "Tonari no Totoro/My Neighbor Totoro"; an English-language dubbed version was released in the USA in 1993

Became chief instructor for animators at Telecom; used company name as pseudonym on some TV directing assignments

Left A-Pro and joined Zuiyo Productions

Hired to work as an in-betweener at Toei Douga; worked on the TV series "Okami Shonen Ken/Wolf Boy Ken" and the feature "Wan Wan Chushingura/Watchdog Bow Wow"

Directed or co-directed episodes of the animated TV series "Lupin III"

Launched the manga serial "Nausicaa of the Valley of the Wind" in the magazine "Animage"; completed in 1984

Left Toei Douga to join Takahata at A-Pro

Produced and scripted "Mimi wo sumaseba/Whisper of the Heart", directed by Yohifumi Kondo

Served as producer on Takahata's "Omohide poro poro/Only Yesterday"

Wrote, directed and storyboarded the anime feature version of "Nausicaa of the Valley of the Wind"; after being edited, released in USA as "Warriors of the Wind" in 1986

Raised in Tokyo, Japan

Produced, wrote and directed the anime "Majo no takkyubin/Kiki's Delivery Service"; dubbed English version released direct-to-video in the USA in 1998

Traveled to Italy and Argentina for inspiration for "Three Thousand Miles in Search of Mother"

Executive produced "Kari-gurashi no Arietti/The Secret World of Arrietty"; also co-wrote the screenplay with Keiko Niwa

Crafted the WWII-era romance "Porco Rosso/The Crimson Pig", about a fighter pilot who is turned into a pig

Founded Studio Ghibli

Wrote, designed and directed "Tenku no shiro Laputa/Laputa: Castle in the Sky"

Spent three years working on the animated feature "Prince of the Son", directed by Isao Takahata

Wrote and directed the anime "Mononoke Hime/Princess Mononoke"; Disney and Miramax purchased U.S. distribution rights and spent two-years preparing English dubbed version featuring an all-star cast led by Billy Crudup, Claire Danes and Minnie Driver and r

Visited Switzerland as research for "Heidi: Girl of the Alps"

Directed and provided story for the rock duo Chage & Ake's music video "On Your Mark"

Helmed the animated adventure "Howl's Moving Castle"; received an Oscar nomination for Best Animated Feature

Enjoyed a box-office hit in Japan with the anime feature "Sen to Chihiro no Kamikakushi/Spirited Away"

Announced his retirement around the release of his purported final film, "The Wind Rises"

Summary

Long acknowledged as Japan's preeminent animator and director, Hayao Miyazaki remained a cult figure to American devotees of "manga" (Japanese comic books) and "anime" (Japanese animated features) until the 1999 US release one of his undisputed masterworks, "Princess Mononoke" (1997). Acquired by Miramax and redubbed into English using a script by Neil Gaiman and the vocal talents of actors such as Claire Danes and Billy Crudup, "Princess Mononoke" introduced the richly crafted animation and superb storytelling to mainstream audiences. The film was deemed too violent for young children used to Disney cartoons filled with cheery anthropomorphic sidekicks and sing-along musical scores but their older siblings and parents could marvel at the detailed set pieces and enjoy the three-dimensional characters, who were neither true-blue heroes nor all-black villains. Miyazaki's anime classic explored big themes like man versus nature and good versus evil, but they were couched in mythology and highly memorable visuals. His subsequent film, 2001's boldly imaginative "Spirited Away," received even more acclaim and went on to win a 2003 Academy Award, solidifying Miyazaki's already-revered status in international cinema.

Name

Role

Comments

Katsuji Miyazaki

Father

worked for Miyazaki Airplane which manufactured rudders for fighter planes; company owned by his brother; died in 1993 at the age of 78

Dola Miyazaki

Mother

was bedridden for nine years (1947-55) with spinal tuberculosis; her illness partly informed his anime "Tonari no Totoro"; died in July 1980 at age 71

Keisuke Miyazaki

Son

born in April 1969

Arata Miyazaki

Brother

born in July 1939

Shirou Miyazaki

Brother

younger; worked for advertising firm Hakuhoudo

Yukata Miyazaki

Brother

born in January 1944

Akema Ota

Wife

met c. 1964; married in October 1965

Education

Name

Omiya Junior High School

Gakushuin University

Omiya Elementary School

Toyotama High School

Eifuku Elementary School

Notes

"I've come to the point where I just can't make a movie without addressing the problem of humanity as part of an ecosystem." – Miyazaki quoted in Film Comment, November-December 1998

"When an idea for a project is formed, there are always market considerations – this might appeal to a certain age group, and so on. But its never the way you would expect it. Sometimes in the beginning a predictable age group will come, but the end result might be another: middle-aged men, young women, whatever. You can never be sure." – Miyazaki to Philip Brophy posted at "The Black, The White" (www.electric-rain.net/NihonSun/Black&White/Interview/html)

"I think that if you are very genuine in doing films for young children, you must aim for their heads, not deciding for them what will be too much for them to handle. What we found was that children actually understood the movie and what we were trying to say more than the adults." – Miyazaki quoted in The New York Times, Oct. 21, 1999

"From a pure filmmaking standpoint, his staging, his cutting, his action scenes are some of the best ever put on film, whether animated or not." – American animator John Lasseter quoted in The New York Times Oct. 21, 1999

"I'm completely baffled by the popularity of my work in America. I think it must prove that for all our superficial differences, we humans have a great deal in common." – Miyazaki through a translator to The Los Angeles Times, Oct. 24, 1999

"My own work has been influenced by so many different factors and films: All artists take their place in the continuing cycle of influencing and being influenced.

"In some ways, the history of art represents a great relay race, with each runner transforming the baton as he carries it. At some point, I'll be ready to hand the baton on to the next generation – if they wish to receive it." – Miyazaki quoted in The Los Angeles Times, Oct. 25, 1999